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Journal of Islamic Architecture Volume 3 Issue 1 June 2014 | 39 SINO-ARABIC SCRIPT AND ARCHITECTURAL INSCRIPTIONS IN XI’AN GREAT MOSQUE, CHINA Djamel Dilmi College of Architecture, Design and Planning Qassim University, KSA Email Address: [email protected] / [email protected] Abstract The Islamic art have played a significant role in the development of Muslim Chinese community in China, it was developed through time in response to cultural needs of the minority Muslim groups in China. The Islamic calligraphy was widely used in architecture, especially in interior and exterior decoration of mosques and other religious buildings. The aim of this study is to interpret the Islamic art and architecture in China through application of Sino-Arabic script on mosques and crafts produced by Muslim minority in China in relation to the Islamic civilization and Chinese civilization, in order to suggest some guidelines for the preservation of this forgotten Islamic heritage. To achieve the aim of this paper the Sino-Arabic inscriptions will be examined in order to determine their characteristics and the nature of the effects to which they have been subjected. A broad range of information was collected from various sources and through a field survey that was carried out in Xi’an Great Mosque in China. The collected information from field work will be analyzed with particular regard to the special character of Chinese Islamic art and architecture. This study is an attempt to address the important topic of Islamic calligraphy and its application on architectural buildings in China as part of issues of Islamic architectural heritage and its integration with local tradition that have been occurred in the Muslim world and it is hoped that it is going to be a significant contribution to the subject of Islamic art and architecture in China as well as revival and preservation of this forgotten heritage. Detailed conclusion will be arrived at the end and specific suggestions are intended to assist in examining the topic in depth and helping in developing guidelines for regional expansion and adaptation of Islamic art and architecture with local environmental condition to contribute more for the future of Muslim heritage and civilization. Keywords: Sino-Arabic script, mosque, civilization, heritage Abstrak Seni Islam telah berperan penting dalam perkembangan masyarakat Tionghoa Muslim di China, itu dikembangkan melalui waktu dalam menanggapi kebutuhan budaya kelompok-kelompok minoritas Muslim di Cina. Kaligrafi Islam secara luas digunakan dalam arsitektur, terutama dalam dekorasi interior dan eksterior masjid dan bangunan keagamaan lainnya. Tujuan dari penelitian ini adalah untuk menafsirkan seni Islam dan arsitektur di Cina melalui aplikasi script Sino-Arab di masjid dan kerajinan yang diproduksi oleh minoritas Muslim di Cina dalam kaitannya dengan peradaban Islam dan peradaban Cina, dalam rangka untuk menyarankan beberapa pedoman untuk pelestarian warisan Islam yang terlupakan ini. Untuk mencapai tujuan makalah ini prasasti Sino-Arab akan diperiksa untuk menentukan karakteristik dan sifat dari efek yang mereka telah menjadi sasaran. Sebuah berbagai informasi yang dikumpulkan dari berbagai sumber dan melalui survei lapangan yang dilakukan di Masjid Besar Xi'an di China. Informasi yang dikumpulkan dari kerja lapangan akan dianalisis khususnya berkaitan dengan karakter khusus seni Islam Cina dan arsitektur. Penelitian ini merupakan upaya untuk mengatasi topik penting kaligrafi Islam dan penerapannya pada bangunan arsitektur di Cina sebagai bagian dari masalah warisan arsitektur Islam dan integrasi dengan tradisi lokal yang telah terjadi di dunia Muslim dan diharapkan bahwa akan menjadi kontribusi yang signifikan terhadap subjek seni Islam dan arsitektur di Cina serta kebangkitan dan pelestarian warisan terlupakan ini. Kesimpulan rinci akan tiba di akhir dan saran-saran khusus dimaksudkan untuk membantu dalam memeriksa topik secara mendalam dan membantu dalam mengembangkan pedoman untuk ekspansi regional dan adaptasi seni Islam dan arsitektur dengan kondisi lingkungan setempat untuk memberikan kontribusi lebih untuk masa depan warisan dan peradaban Muslim. Kata Kunci: Sino-Arabic script, masjid, peradaban, warisa Introduction Most of the mosques in the world include Arabic calligraphic inscriptions were participating in the ornamental program of the construction as part and partial of their interior design, as well as the façades and exterior spaces that belongs to the

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Journal of Islamic Architecture Volume 3 Issue 1 June 2014 | 39

SINO-ARABIC SCRIPT AND ARCHITECTURAL INSCRIPTIONS IN XI’AN

GREAT MOSQUE, CHINA

Djamel Dilmi College of Architecture, Design and Planning

Qassim University, KSA

Email Address: [email protected] /

[email protected]

Abstract The Islamic art have played a significant role in the development of Muslim Chinese community in China, it was developed through time in response to cultural needs of the minority Muslim groups in China. The Islamic calligraphy was widely used in architecture, especially in interior and exterior decoration of mosques and other religious buildings. The aim of this study is to interpret the Islamic art and architecture in China through application of Sino-Arabic script on mosques and crafts produced by Muslim minority in China in relation to the Islamic civilization and Chinese civilization, in order to suggest some guidelines for the preservation of this forgotten Islamic heritage. To achieve the aim of this paper the Sino-Arabic inscriptions will be examined in order to determine their characteristics and the nature of the effects to which they have been subjected. A broad range of information was collected from various sources and through a field survey that was carried out in Xi’an Great Mosque in China. The collected information from field work will be analyzed with particular regard to the special character of Chinese Islamic art and architecture. This study is an attempt to address the important topic of Islamic calligraphy and its application on architectural buildings in China as part of issues of Islamic architectural heritage and its integration with local tradition that have been occurred in the Muslim world and it is hoped that it is going to be a significant contribution to the subject of Islamic art and architecture in China as well as revival and preservation of this forgotten heritage. Detailed conclusion will be arrived at the end and specific suggestions are intended to assist in examining the topic in depth and helping in developing guidelines for regional expansion and adaptation of Islamic art and architecture with local environmental condition to contribute more for the future of Muslim heritage and civilization. Keywords: Sino-Arabic script, mosque, civilization, heritage

Abstrak Seni Islam telah berperan penting dalam perkembangan masyarakat Tionghoa Muslim di China, itu dikembangkan melalui waktu dalam menanggapi kebutuhan budaya kelompok-kelompok minoritas Muslim di Cina. Kaligrafi Islam secara luas digunakan dalam arsitektur, terutama dalam dekorasi interior dan eksterior masjid dan bangunan keagamaan lainnya. Tujuan dari penelitian ini adalah untuk menafsirkan seni Islam dan arsitektur di Cina melalui aplikasi script Sino-Arab di masjid dan kerajinan yang diproduksi oleh minoritas Muslim di Cina dalam kaitannya dengan peradaban Islam dan peradaban Cina, dalam rangka untuk menyarankan beberapa pedoman untuk pelestarian warisan Islam yang terlupakan ini. Untuk mencapai tujuan makalah ini prasasti Sino-Arab akan diperiksa untuk menentukan karakteristik dan sifat dari efek yang mereka telah menjadi sasaran. Sebuah berbagai informasi yang dikumpulkan dari berbagai sumber dan melalui survei lapangan yang dilakukan di Masjid Besar Xi'an di China. Informasi yang dikumpulkan dari kerja lapangan akan dianalisis khususnya berkaitan dengan karakter khusus seni Islam Cina dan arsitektur. Penelitian ini merupakan upaya untuk mengatasi topik penting kaligrafi Islam dan penerapannya pada bangunan arsitektur di Cina sebagai bagian dari masalah warisan arsitektur Islam dan integrasi dengan tradisi lokal yang telah terjadi di dunia Muslim dan diharapkan bahwa akan menjadi kontribusi yang signifikan terhadap subjek seni Islam dan arsitektur di Cina serta kebangkitan dan pelestarian warisan terlupakan ini. Kesimpulan rinci akan tiba di akhir dan saran-saran khusus dimaksudkan untuk membantu dalam memeriksa topik secara mendalam dan membantu dalam mengembangkan pedoman untuk ekspansi regional dan adaptasi seni Islam dan arsitektur dengan kondisi lingkungan setempat untuk memberikan kontribusi lebih untuk masa depan warisan dan peradaban Muslim. Kata Kunci: Sino-Arabic script, masjid, peradaban, warisa

Introduction Most of the mosques in the world include

Arabic calligraphic inscriptions were participating

in the ornamental program of the construction as part and partial of their interior design, as well as the façades and exterior spaces that belongs to the

40 | Journal of Islamic Architecture Volume 3 Issue 1 June 2014

mosques where Qur’ānic verses inscribed on domes, doors or mihrābs.

Many examples of mosques around the world

are showing different styles of Arabic calligraphy

representing various regions of Muslim world

including Arabia, Anatolia, Maghrib, Persia, Sub-

continent India, South East Asia and China. The topic

of Sino-Arabic script and its application on Islamic

architecture in China is another medium of visual art

that can be used to bring up cultural exchange and

artistic interaction as well as inter-civilisations

dialogue1.

Research Background

Islamic art and architecture in China is a field

surrounded by controversy for both its name and are

those who question the existence of an Islamic

Chinese culture altogether, and consequently object

to the term Islamic Chinese art and architecture.

What they are really questioning thus is the identity

of Muslim Chinese. As such, it is perceived as an

enigma.

However, the dissemination of Islam in China

articulates the integration between the Islamic and

Chinese civilization. From generation to generation,

Muslims in China were immensely seen with eminent

figures in the history of China including military

strategists, writers, poets, historians, astronomers,

navigators and philosophers. The Muslim

contribution in the field of medicine, politics, trade

and art has been high acknowledged as the

inseparable part of the diversified and

heterogeneous civilization of China.

The study of epigraphy has been commented

upon and evaluated by R. Ettinghausen and

others2. In these evaluations, it is put forth that the

importance of architectural inscriptions for the study

of architectural history as well as cultural and social

history. By the time the Mamluks raised the power

in 1260 AD, the use of Arabic inscriptions on

architectural buildings had become a traditional

form of visual communication. Though the use of

inscriptions on buildings is dates back to the first

monument in Islam, the Dome of the Rock (691 H),

the root of Mamluks practice lie in the Fatimid

tradition in Cairo and its interpretation by Ayyubids

after them3(figure 1).

Figure 1. The first use of inscriptions on religious

buildings was on the Dome of the Rock

A Brief Introduction Of Xi’an Great Mosque In

China

The Significance of Xi’an Great Mosque

The Great Mosque of Xi’an as it referred to by

Muslim Chinese official sources, is the oldest mosque

in China and hypostyle, courtyard ever built in

mosques of China. The significance of its

architecture is attributed to its artistic merit, its

place in the history of Muslim China, in its unique

style, and its role in religious life of Muslims in Xi’an

city (figure 2). In 1956, the mosque was declared as

an important national historical and cultural site by

the government of the People’s Republic of China.

The Great Mosque also is preserved under the China

Conservation Unit and United Nations Educational,

Scientific and Cultural Organization (UNESCO).

Figure 2. View of Xi’an Great Mosque that serves as a centre for religious, political and social activities of Hui

Muslims

Journal of Islamic Architecture Volume 3 Issue 1 June 2014 | 41

The Architecture and Layout of the Mosque

Xi’an Great Mosque was built in elongated

rectangular site in the densely populated residential

area. It was first built on this site on Hua Jue Lane

as early as the 700s AD during the Tang dynasty, but

the current complex was laid out during the Ming

Dynasty in the late 14th century. Its buildings are a

fascinating fusion of Chinese and Arabic styles.

The planning layout of this mosque was based

on a symmetrical and linear plan composed on four

courtyards, Moon platform and prayer hall along the

east-west axis. It occupies an area between 12,000

to 13,000 square meters with the build-up area of

more 48 meters by 248 meters. The prayer hall

was located on the main axis and each

courtyard is designed as an independent space and it

is separated by screen walls and gateways.

Contrasting with any other mosques, the layout

of Xi’an Great Mosque has much influence of Chinese

temple. It has series of courtyards in a single axis

with pavilions and adapted to suit Islamic function

(figure 3). However, different from other temple

buildings in Chinese architecture, main axis of this

mosque is aligned from the east to the west, facing

Mecca.

Figure 3. The influence of Chinese architectural style on Xi’an Great Mosque, China shown in the components of

the mosque and its roofing

SURVEY AND ANALYSIS OF SINO-ARABIC

SCRIPT IN XI’AN GREAT MOSQUE

The Application of Sino-Arabic Script in the Decoration of the Mosque

There was a long tradition in the Muslim world

of using Arabic calligraphic inscriptions, particularly

to decorate the facades and other parts of

monumental structures. The calligraphic decoration

remains in many locations of the mosque internally

and externally such as the prayer room, mihrāb,

minbar, ablution room and courtyards.

The Masterpiece of Full Text of Qur’ān Carved on Wooden Panels

The Qur’ānic inscriptions of full text of Qur’ān

carved on wooden panels along the interior walls

of worship hall of Xi’an Great Mosque are a major

decorative element of the mosque and are

considered as a masterpiece of Islamic art in China.

The inscription started with Bismilah, surah 1

and then surah 2 followed up to surah 114, since

there is no break in the Qur’ānic text, it implies that

the original idea was to have the Qur’ān itself

inscribed from beginning to the end. One may add

that in spite of the fact that it was not complete, it

was always regarded in popular and folk account

that the mosque contained the whole Qur’ān. But

the fact that it displayed the full text of Qur’ān is a

main difference between Xi’an Great Mosque and

other old mosques of Muslim land. The carved

inscription of the full Qur’ān on wooden panels gives

the mosque a unique character that differentiated

from other mosques of the Muslim world (figure 4).

Figure 4. The full text of Qur’an is carved on wooden panels at Xian Great Mosque

Location and Placement of Sino-Arabic Script Inside the Hall of Prayer

Inside the main hall of prayer of Xi’an Great

Mosque, there are many Arabic calligraphic

inscriptions from Qur’ānic verses applied on wood

carving combined with floral motifs

42 | Journal of Islamic Architecture Volume 3 Issue 1 June 2014

The Inscription at the central bay

The inscriptions at the central bay are in form

of couplets hang on the wooden columns of the

mosque, the inscriptions are inscribed in vertical

form carved on wood and highlighted in gold

paintings with black background (figure 5).

The inscriptions read the Shahadah and

Divine attribute of God (ninety nine names of

Allah). The names are the complete 99 attributes of

Allah written in vertical form. Every column contains

thirteen small diamond forms inscribing the

attributes on it, starts with: 1) (tr: He is Allah)

2) (tr: The infinitely Good)

3) (tr: The Merciful)

4) (tr: The King)

5) (tr: The Holy)

6) (tr: The Flawless)

7) (tr: The Faithful)

8) (tr: The Guardian)

9) (tr: The Eminent) and

10) (tr: The Compeller)

The other couplets are inscribed with respected

thirteen attributes till the end of the 99 attributes of

God.

Figure 5. The calligraphic inscriptions in form of couplets hang on the pillars of central bay in Xi’an Great

Mosque

The Inscription at the Mihrāb Wall

In most cases of mosques around the Muslim world

the mihrāb wall is the most decorated piece, it

continues to be a major and highly decorated

element inside the mosque. However, the mihrāb

wall of the Great Mosque of Xi’an is a master piece

of wood carving using calligraphy and floral motifs,

the mihrāb is in concave shape, as in all mihrābs,

and is located in the qiblah wall of the mosque. The

artistic technique was used in the decoration of the

mihrāb wall was mainly wood carving with Arabic

inscriptions as well as geometric patterns and floral

motifs that form a frame around the mihrāb and also

appear in the bottom part of it (figure 6). However,

the interior of the niche, is divided into an upper

and lower section by bands of wood carving, the

upper section has alternately coloured and plain

vertical triangles which meet below the apex of the

arch at a lotus. The lower part is carved with floral

motifs. The mihrāb wall is framed by a wooden

panel carved of floral motifs integrated with two

small inscriptions in two circular frames, which read which means God is Amnesty, God هللا ���، هللا ���ر

is forgiving.

Figure 6. An Interior view of the prayer hall and its stylistic calligraphic decoration

Calligraphic inscriptions from Qur’ānic verses

are inscribed on the mihrāb wall in form of bands of

decoration divided into horizontal and vertical as

well as well lower and upper sections. On its

exterior, the mihrāb is framed by three panels of

decoration with alternate floral and geometric

design. At the base of the second of the three

farming panels is a rectangular space on the niche

inscribed with Shahadah: There is no God but Allah

and Muhammad is his messenger. Another square

shape above it was inscribed with one of the shortest

chapters from Qur’an (al-Ikhlas):” He has no

associate. The One, the eternally Besought of all”

[epithets]- "He begetteth not nor was begotten, and

there is none comparable unto Him” (112:3-4,).

Sūrah 112, al-Ikhlās is the other text that is

frequently applied in mosques around the world,

which state the fundamental issues of Islam. Outside

these two bands of decoration there is two bands

around the mihrāb wall being inscribed with Qur’ānic

verses ("We were engaged in (looking after) our

Journal of Islamic Architecture Volume 3 Issue 1 June 2014 | 43

flocks and herds, and our families: do thou then ask

forgiveness for us." They say with their tongues what

is not in their hearts. Say: "Who then has any power

at all (to intervene) on your behalf with Allah, if His

Will is to give you some loss or to give you some

profit? But Allah is well acquainted with all that ye

do” ( Surah 48. Victory,11).

The Inscription below the Ceiling

Sino-Arabic inscription is found on wooden plaques located originally below the ceiling of Xi’an Great Mosque (figure 7). This location of inscription is one of the major elements in the mosque. It therefore deserves special attention, some inscriptions are not legible due to the painting on the wood which is in fair condition and it needs some conservation works to highlight the inscriptions. However, the inscriptions below the ceiling is conformed by the researcher that are the attribute of God, but these inscription poses yet one more serious problem. It is very difficult to read all of them for some reasons. The first is that its location is very high up. As a result, it is difficult to read for the naked eye to see it. The second is that there are some fragments of the inscription which are now lost. The third is that the prayers hall is dim and also the darkness of the hall disturbs one’s vision inside the hall to a degree that makes the some inscriptions very hard to read.

Figure 7. The inscriptions below the ceiling of the Xi’an Great Mosque

Location and Placement of Sino-Arabic Script Outside the Hall of Prayer The Inscription at Courtyards

The complex consists of many facilities to serve

the worshipers with educational, social and political

activities. These facilities such as room for

association meeting, room for important official

guests, rooms for ablution and others for exhibitions

for manuscripts and artefacts. However, all these

facilities are located outside the prayers hall at the

courtyards of the mosque, each facility contains

calligraphic inscriptions, and the subject of these

writings can be derived from different sources in

Islam. (figure 8).

Figure 8. View of calligraphic inscriptions at courtyards which were carved on stone

The Inscriptions on Stone Tablets at Memorial Hall

The stone inscriptions in three tablets are inscribed in three languages Arabic, Persian and Chinese language. From the stone tablets indicate that Xi’an Great Mosque was originally set up in 742 AD during the Tang Dynasty. Holding the history of 1250 years, this complex had undergone several restoration and renovation during different dynasties such as Song, Yuan, Ming and Qing dynasty (figure 9).

Figure 9. The carved stone inscriptions in three tablets are inscribed in three languages Arabic, Persian and

Chinese language

44 | Journal of Islamic Architecture Volume 3 Issue 1 June 2014

The Inscriptions on Imperial Hall

Sino-Arabic inscriptions are found on upper part of

the doors of Imperial Hall. According to table 1, the

theme of these inscriptions can be classified into:

unity of Muslims and performance of Hajj (table 1).

Table 1. The Inscriptions on the Imperial Hall

Inscription Translation Theme

وا�����ا ب� هللا ����� و� ت����ا

And hold fast, all together, by the rope which Allah (stretches out for you), and be not divided among yourselves. (Ali Imran

103).

Unity of Muslims

و�! ا���س ح� ا��� ��� ا����ع"� إ��# �

Pilgrimage there to is a

duty men owe to Allah, those who can afford the journey.”(Ali Imran 97).

Hajj to Mecca

The Inscriptions on Garden House

Inscriptions are also found on the wall of Garden House which is place for resting and relaxing equipped with benches with landscape. The calligraphic inscriptions are written in form of fruit and flowers carved on stone with floral motifs which is integrated with landscape the garden (figure 10). According to table 2, the theme of these inscriptions can be classified into: remembrance of God, role of mosque, confession of faith teaching of Islam about good deeds, purification and fear of God (table 2).

Figure 10. The calligraphic inscriptions are carved on stone in form of fruit and flowers with floral motifs.

Frequent Inscriptions and Themes at Xi’an Great Mosque

According to several studies on inscriptions on mosques, the selected themes of inscriptions at Xi’an Great Mosque are similar to other mosques around the world. Researcher elaborates the data under two separate tables. The first table contains frequent inscriptions and themes in Great mosque which are applied on the elements inside and outside the spaces of the mosque with different materials and techniques (table 3). Table 3 goes into deeper details about the contents of the chosen verses written in Xi’an Great Mosque. There are six common themes that can be drawn out from researcher’s findings. This is in fact a very important aspect to be realized. Out of its most importance, the mosque must reflect its philosophy as the centre for Muslim unity in its essence and spirit. The most favourite theme is the Shahādah (Confession of Faith) the wide spread used in mosques around the world due to its common consideration to remind the worshippers in mosques on the Islamic faith which contained in the Shahādah. Attributes of Allah are widely used in mosque decoration. They are written in full version (ninety nine names) or in partial mainly in the prayer halls. The reason for their popularity is obvious as the essence of Islam is to accept no deity except Allah and Muslims are urged to know their God even deeper.

Similar to other mosques around the world, the inscriptions at Xi’an Great Mosque contained inscription on the mihrab, which is the full Sūrah al-Ikhlās that touches about the Oneness of Allah. This chapter is chosen for its inspirational oneness of Allah and the reason behind the popularity of this chapter in China, possibly, is the length which is short text easy to memorize and contained the is one of the most powerful Sūrah’s in the Qur’ān, the Sūrah completely gets rid of any

Journal of Islamic Architecture Volume 3 Issue 1 June 2014 | 45

shirk that people are committing, and moves God away from the doctrines that they have ascribed into

him. The Surah deals essentially and exclusively with Tawheed.

Table 2. The Inscriptions on Garden House

Inscription Translation Theme

إن رح�( هللا ��ی' م� ا���%��� For the Mercy of Allah is (always) near to those who do goods. (Surah 7 The Heights,56).

Remembrance of Allah

و هللا ی.��ا إ� دار ا�%"م But Allah doth call to the Home of Peace Surah 10. Jonah, 25)

Remembrance of Allah

إن رح�� هللا ��ی' م� ا���%���For the Mercy of Allah is (always) near to those who do good. (Surah al-Aaraf ,7. The Heights, 56).

Remembrance of Allah

��0/.وا > وا�.وا But fall ye down in prostration to Allah, and adore (Him)! (Surah al-Najm 53. The Star, 62).

Remembrance of Allah

ب�ب ا��ح�(The door of Mercy

Remembrance of Allah

ب�ب ا�%"م(The door of protection

Remembrance of Allah

ا�!67 إن� ن%3�4 ا�%"م( 20 ا�.ی�Oh Allah, we ask you in the protection of religion

Remembrance of Allah

Classification of Calligraphic Inscriptions in Xi’an Great Mosque

The inscriptional program of Xi’an Great Mosque is unusual in that large number of Arabic calligraphic inscriptions that are inscribed. The Arabic calligraphic inscriptions that were surveyed in this mosque can be categorized into two groups: religious and non- religious. The religious inscriptions can be divided into major categories:

� The use of complete surahs or selected verse composed into one text.

� The use of prophetic saying Hadiths

� The Bismilah:” In the name of God the most Merciful and most Beneficial”. The Shahadah: ”There is no God but Allah”

� The various attributes of God (99 names of Allah).

� The name of Prophet Mohammed and angels.

The non-religious inscriptions also can be divided into major categories:

� The name of the mosque

� The name of patron who contributed to the restoration of the mosque

The foundation and restoration inscriptions

Table 3. Frequent inscriptions and themes in Xi’an Great Mosque

Type of inscription

Textual inscription

Theme

Shahādah There is no Allah but Allah

Confession of Faith

Qur’ānic verse

Sūrah 112, Ikhlās (Sincere) Verses 1-4

Confession of Faith

Attributes of Allah

99 names Attributes of Allah

Foundation of Mosque

Date and restoration work and acknowledgemen

Foundation of Mosque

Qur’ānic verse

Sūrah, Verses Confession of Faith, Victory Prophetic

tradition Hadith Prayers and

supplications

Names of Prophet, his companions and angels

Muhammad, Abu Barker, Ali, Gabriel.

Various names of Prophet Muhammad

Prayers upon the Prophet

Allah’ prayers upon him

Various names of Prophet Muhammad

46 | Journal of Islamic Architecture Volume 3 Issue 1 June 2014

RESULT EVALUATION AND SYNTHESIS

Application of Arabic Calligraphic Inscriptions on Mosques in China

It is worthy to mention that the Arabic

calligraphic inscriptions still standing on religious

buildings of Muslims in China, the tendency was to

employ Arabic script as a logical choice by the

Muslim community whereby the main purpose was to

communicate and pass the message of Islam.

Consequently, legibility was a main requirement for

these inscriptions and Sino-Arabic script being the

most commonly used in China, answered this

requirement.

However, calligraphy as one of the

characteristics of Islamic art that has been used as a

mean of decoration in religious buildings such as

mosques, schools and houses as well in China, it had

its unique form and character that influenced by

Chinese culture, it was written on hang horizontal

inscription boards, or formed antithetical couplets,

not only to manifest the nature of religious buildings

and popularized Islamic doctrine, but also to add a

further dimension to the wide array of decorative

patterns.

The Role of Religion and Philosophy in the

Islamic Calligraphy

The outstanding quality of Sino-Arabic

calligraphic inscriptions is in their variety and

adaptability to the position in which they were

placed in the mosque. Chosen with evident care

and with regard each to its position in exterior and

interior locations of the building, and to its suitable

accommodation to the form of the structure or to its

space provided for it, the inscriptions focus on

religious expression4.

The inscriptions are so placed to instruct the

mosque worshipers and visitors, to enable them to

understand the Divine message5. These inscriptions

are permanent reminders the Faithful that must ever

be reminded to turn to Allah.

Deciphering the Concept of Islamic Chinese

Art and Architecture

Islamic Chinese art and architecture is basically

a product that produced for human use. It is a

product for Muslim Chinese community’s based on

the people’s way of life in which their values and

organization is about being surrounded by the family

members, customs, religion and a Chinese

community as a whole6.

On the other hand, in the Qur’anic inscriptions

Islamic calligraphic conventions are Sinicized, the

proportion and informality reflecting the

Chinese calligraphic preference for dynamic

movement. Thus, even the mosque’s most central

feature in made appealing to Chinese eyes as well as

Muslim sensibilities. In a sense, the mihrāb projects

an image characteristic of Xi’an Great Mosque as a

whole. And although the mosque does not achieve a

genuine fusion of cultures, it does recognize the

requirements of two great artistic traditions, one

Islamic and one Chinese.

Meaning of the Calligraphic Inscriptions and its Classification

The survey lists the inscriptions and its location inside and outside the this mosque and divides them into Qur’ānic and non- Qur’ānic, which make it easier for the researcher to use it as the data for making comparison and discussing the meaning of these inscriptions (figure 11).

As a result, the beauty of inscriptions was not, however, limited to their visual impact, their content was also meant to be a source of inspiration. Naturally the architecture on which inspiration appeared affected the choice of text, or to put it in another way, the selection of particular text was made on the basis of the function of the architecture. Therefore, the meaning of inscriptions on architecture will lead the researcher to overlook the significance of holy text in Muslim’s life and their faith.

Integration and Transformation of Islamic Calligraphy in China

The Muslims in China have adopted traditional Chinese architectural style in building mosques, which is a temple-like compound with

buildings around a square courtyard, and a screen

wall facing the gate. The construction inside the

mosque was richly ornamented with pillars and

beams carved and painted, and also decorated with

horizontal inscribed boards and antithetical

couplets.

The first is combining the Thulth script

form Islamic calligraphic style with cursive script

from the Chinese calligraphic style within the

same calligraphic composition7. The second is the

tendency to draw the letter rather than to transcribe

them, which evidently leads to a decline in the

dominance of one script in its various forms. At the

interpretive level, these characteristics interact and

overlap in their significance or hierarchy. It remains

unknown if the method of drawing the shapes of the

letters instead of writing them resulted in the mixing

of two styles.

Journal of Islamic Architecture Volume 3 Issue 1 June 2014 | 47

Figure 11: Classification of calligraphic inscriptions at Xi’an Great Mosque

Visual Language of calligraphy in Mosques of China

The inscriptions that found on different

parts of Xi’an Great Mosque are fulfilling

different purposes lead to the main functions of

writing calligraphy, it is clear that these functions

can be divided into categories: indicative,

commemorative, semantic, iconic, and ornament.

Though writing is extremely intertwined with

ornament in the case of architectural inscriptions,

each has its own paradigms. Writing of calligraphy

deals with a subject matter that might have

apparent or esoteric meanings.

The vocabulary basically deals with aesthetic

concepts of calligraphy and its models of all the

parts of mosque in China. It concerns such issues as

styles, forms, and pattern and colour selection. The

grammar, on the other hand, relates to various

systems of selecting and arranging these calligraphic

works into a coherent whole within the framework of

Islamic concepts of educating religious teaching in

the mosque.

CONCLUSION & RECOMMENDATIONS

This research focused on the Sino-Arabic script

and its application on Xi’an Great Mosque as an

model of Islamic architecture in China. The future

research

could perhaps widen the scope by including the

other Muslim ethnic groups for comparative purpose.

Another issue can also be raised by some scholars in

future by answering the obvious question why? What

is the reason behind the absence of Islamic art in

China from the international scene, particularly at

this age of global communication? There might be

some reasons, some of which were beyond the scope

of this research.

However, it will be useful to consider some

issues that are being experienced with Islamic art

and architecture in China to end up with some

recommendations as follows:

� Even though, this study has examined the

calligraphic inscription that applied on Xi’an

Great Mosque in China, established institutions

specialised on conservation works are called for

emergency intervention to preserve and restore

this heritage which considered as a memory of

Muslim Ummah.

� This research can also bridge the gape between

Muslim and non Muslim and can encourage the

dialogue of civilizations and cultural fusion

through art and architecture.

� Islamic Chinese architecture and Sino-Arabic

script are unique styles which show the beauty

of Islam and the flexibility of Muslim Chinese

personality that was integrated in its local

environment should be encouraged in future

projects and design new Islamic buildings in

China.

Calligraphic

Inscriptions at

Xi’an Great Mosque

Religious

Inscriptions

Non-Religious

Inscriptions

� Qur’ānic Verses

� Prophetic

tradition

� The Bismilah,

� The Shahadah

� The Divine attributes of

Allah

� Angels

� Name of Mosque

� Name of patron

� Foundation and

restoration inscriptions

48 | Journal of Islamic Architecture Volume 3 Issue 1 June 2014

� Islamic architectural heritage in China is forgotten treasure needs to be preserved and to be restored as a memory of Muslim Ummah in Far East.

BIBLIOGRAPHY

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Civilizations and Cultural Fusion along The Silk

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Communication andIslamic Culture Quanzhou,

Fijian, China.

[2] Ettinghausen, Richard. (1974). Arabic

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Beirut.

[3] Bierman, I A. (1998). Writing Signs, the Fatimid

Public Text, University of California press.

[4] Hamzah, Abdu Rahman. (2007). The

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Malaysia.

[5] Oleg, Grabar. (1992). The Mediation of

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Princeton.

[6] Luo, Xiaowei. (1994). “China" in Ed. Martin

Frishman and Hasan-Uddin Khan. The Mosque:

History, Architectural Development and

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